In retrospect: John Pickering and Buddy Holly's musical legacy

Two years ago, the following was a then-current interview with Houston-based singer/songwriter, John Pickering, which was originally shared with readers by a publication known as Keep Rockin’ magazine. It was a privilege and a pleasure to meet and get to know John Pickering and visit with him about the process of his preparing to complete his biographical memoirs, steeped in the birth of the 1950s hits by musical genius, the legendary Buddy Holly.

When he passed away, February 28, 2011, John’s musical biography was unfinished, but he had, wisely, completed work on his geological information data base, assuredly resting in the fact that his wife and lifetime partner in music could finish the final words on his lifetime pursuit of accuracy in securing label credit for his own, his brother Bill’s, and Bob Lapham’s vocals on 9 of the first 12 Buddy Holly hit records.

It’s a hard thing, anyway, for someone to describe their own story of aggrievement by themselves. Often times, it’s better to let someone else have the final edit anyway. It will probably be in the next year or two that John’s widow, Vicky, will have time, and the determination, to complete John’s book. When that happens, the circle will be complete and the full story will be told.

For now, in retrospect, get to know John Pickering, during some of the best times of his life, ‘Breaking free from the shadows’...

...In 1957, Lubbock, Texas was flat in the middle of nowhere in the minds of most people interested in the national music scene. Lubbock wasn’t famous for much back then, but today, we know it, in addition to being the birthplace of legendary DJ, Cousin Brucie, as ‘home’ for the Holleys, and the Pickerings, two families whose lives revolved around singing in Baptist churches, in different congregations. Little did they know how important members of both families would be in establishing an unforgettable sound just a short drive away in Clovis, New Mexico, or that one day, Lubbock would hold a museum in which one family would be remembered, one still forgotten. To some this is not a new story, but to many who love the music of Buddy Holly, it may be, baby.

For 20 years, one man kept the curtains closed on the accomplishments of The Picks as a part of Buddy Holly’s legendary vocal sound, and for 20 more years, others would attempt, unsuccessfully, to keep them in the shadows. Norman Petty was an early music impresario who had a “golden ear,” and his Norman Petty Trio had hits including “Mood Indigo.” Norman wrote popular favorite, “Wheels,” and Roger Williams made the Petty-penned “Almost Paradise” a million-seller. Petty was also a savvy engineer and music publisher who had a relationship with publishing giant, Peer-Southern. If anyone could “make careers happen,” surely Norman Petty could. And did.

With persevering determination John Pickering has worked for 52 years to tell the story of the backing vocals on some of Buddy Holly’s earliest and biggest hits, in which the voices he, his brother Bill, and good friend, Bob Lapham, as The Picks, were an integral part of 9 of the first 12 releases by The Crickets. Many present-day music fans are now aware of the contributions of The Pickering Brothers and Bob Lapham. The story took years to come to light, but it’s a great feeling for John, mostly as a tribute to his brother Bill, whose inadequate coping skills to overcome oversights and dirty deals weighed heavily on John’s heart for decades.

Imagine you’ve been singing in churches, in stage concerts and on the radio since you were 6 years old as part of a professional family quartet. Your father is a music teacher who traveled extensively, teaching “shaped note” singing to people who paid $10 for a week-long course, and had the family singing on the radio across Texas. Your family has moved 23 times before you finished high school. While you’re in the middle of your college freshman year, your father dies, with no insurance. John Pickering’s values, long-held, were: “don’t complain, just get in there and work.”

To afford tuition at Texas Tech University, John sang professionally, worked after school as a check liner in a Lubbock bank, sold electronic parts by day, and swept floors by night at a TV repair school, and sold shoes on weekends. After graduation, he’d married his lifetime love, Vicky, and was preparing to begin his career as a petroleum geologist with Humble (Exxon) in Corpus, but first, one more recording job called.

On Saturday, July 13, 1957, John and Bill Pickering and Bob Lapham (The Picks) had just finished a session in Norman Petty’s recording studio, 1313 W. Seventh Street in Clovis, New Mexico. After the session, Norman called the trio over to listen to two solo tracks he’d recorded with his newest management client, Buddy Holly.

Norman had already released “That’ll Be the Day” by “The Crickets”.  Vocals were Buddy Holly, with backing by Gary and Ramona Tollett and Niki Sullivan, but that record had not yet started up the charts. Norman played “Oh Boy” and “Peggy Sue”, asking them whether either needed backing vocals. John explains, “we heard both tracks and thought “Peggy Sue” was fine without backing vocals. Norman had run the drums on that track through his echo chamber, and by turning the knobs up and down over the paradiddles, that pulsing sound of the drums ‘made’ that song.” We did think, though, that “Oh Boy” needed backing vocals. However, we just thought he was asking our opinion.”

Next, John recalls Petty said to the trio, “would you all do the backups for me? I can’t pay you any royalties, but I will guarantee that ‘people will know your voices’ and this will enhance your careers musically.” John Pickering had no reason to believe otherwise. The Pickering Family had sung daily shows and had known the Pettys (Norman and Vi) since school days in 1941. By 1957. John, at 24, had been singing professionally since age 6, as had his brother, Bill, at 30. John’s friend Bob Lapham, 22, had been a talented non-professional singer. The Pickering Family quartet, composed of John, Bill, Pop (John), and Mom (Beth), were favorites across Texas and New Mexico for gospel and popular singing. The only legacy the Pickering boys grew up with was every musical and life lesson their father had taught them including, “your word is your bond, and a handshake agreement is a deal.” So, that Saturday night they devised arrangements and vocally backed Buddy’s “Oh Boy” solo.

Norman didn’t provide them a copy when the 45 rpm single, “Oh Boy,” was released; John bought one in a Corpus Christi record store and saw that “The Picks” weren’t listed. John asked Bill to talk to Norman. Norman told Bill, ‘it’s an oversight, we’ll make it right.” On October 12–14, The Picks returned to Norman’s studio to record 8 more songs, a total of 9 of 12 on Buddy’s first album, “The Chirping Crickets,” released November 27, 1957. Once again, only Buddy Holly and the instrumental Crickets were pictured and described on the cover and labels, all of which indicated “vocal group.” The album won the 1957 Vocal Group Awards in both the USA and UK for “The Crickets.” In addition to Niki Sullivan’s bass, “That’ll Be the Day” and “I’m Looking for Someone to Love” had the voices of Gary and Ramona Tollett. Neither The Picks or The Tolletts were credited.

Those sessions “were supposed to enhance our careers,” John recalls. So far we were the only ones who knew we’d contributed to the records. About the album, Norman explained to John, “well that was a record company screw-up; they were supposed to get it right.” John wasn’t sure who ‘they’ were. All he knew was that Norman was Buddy Holly’s manager, producer and, for a time, owned all the publishing rights to his songs.

“The instrumental Crickets, Niki Sullivan, Joe B. Mauldin, and Jerry Allison,” John says, “are excellent musicians. At no time did we ever want to infringe on what they perceived were ‘their’ rights. We simply wanted credit for our work.” The Picks were a trio of vocalists who could sing anything, and did. John and Bill continued as a duo, after Bob married and became a successful journalist in Abilene. But John’s primary day job was as a paleontologist and geologist, and raising his family didn’t leave funds for extras like hiring a music attorney and engaging in battle to reclaim any rights or royalties that were due to The Picks. Also, it was distasteful for John to even want to consider suing someone who’d been a friend, especially when a handshake should have been enough. John’s wife, Vicky, had gone to high school with Buddy in Lubbock.

In December, 1957, John and Bill were waiting for their mother to come out for lunch from her job at a downtown Lubbock department store when suddenly, a big car came to a fast stop. The lunchtime traffic caused people to honk impatiently, but a young man exited the car and ran over to the brothers, extending his hand. Buddy Holly said, “I just wanted to say thank you for what you’ve done for me. Your voices ‘made’ that album and I’ll never forget what you’ve done. Thank you so much.” Holly ran back to the car to unblock the traffic jam. John smiles, “our voices didn’t ‘make’ the records; Buddy and the songs ‘made’ the records, and we were just proud to contribute, but it was nice of him to say that.”

In the few times John encountered Norman Petty again from 1957 to the 1970s, Norman would say, “we’ve been telling everyone what you did!” In 1973, even Crickets’ drummer Jerry Allison said the same thing, upon seeing him in Houston, John remembers. It was one of those uncomfortable situations where a wrong was hanging ‘out there,’ but no one wanted to discuss it, much less correct it. John’s and Vicky’s strong faith in God, and Vicky’s faith in her husband, gave them peace that one day the truth would be told. Bill, however, didn’t fare as well.

So troubled was Bill by what his friend and high school classmate, Norman, had done in not crediting them, that Bill’s career was rife with missteps and anguish, as obscurity haunted him. At one point, Bill suffered a brain aneurism and almost died. He survived, but had lost the ability to sing. Miraculously, ten years later, his tenor voice returned, and he and John were able to record again. But that ‘career enhancement’ wasn’t working for them, where Norman Petty assured them everyone would know their names. At least not in Nashville. In 1969 when John and Bill traveled to Nashville, there were no open doors or top brass in line to greet them.

The Pickering Brothers played their demo for Tommy Allsup at Metromedia, who told them to come back in 3 months. The brothers didn’t know who Allsup was, and no mention of Buddy Holly was ever made. When Pete Drake of Stop Records, heard John’s composition, “Close the Book,” Drake signed them on the spot. Two weeks later, they recorded “Proud Mary,” and Drake rushed 50 acetates to key country radio stations. The Pickering Brothers stopped at every radio station between Nashville and Houston to visit with DJs. Reception was so positive that by the time the brothers got back in their car, they’d hear their songs playing on the car radio. Often, they’d hear a DJ pick up the needle and play their song a second time. Victory at last, but shortlived. While The Pickering Brothers were producing turntable hits, Stop Records went bankrupt and couldn’t produce the vinyl records for the stores. Their “Proud Mary” was #1 in 18 markets, and they netted $31. Commercial recording success evaded them, again.

In 1977, by chance John Pickering was listening to a UK interview on his Houston public TV station. Norman Petty was being interviewed, and for the first time in 20 years, John heard Norman respond to, “Who did the backup vocals for Buddy Holly’s Crickets’ records?” with, “it was The Picks and The Roses, but mostly, The Picks did the singing.” An admission of fact, albeit late.

Eventually, MCA Records provided John with masters for many of Holly’s solos. Buddy’s widow, Maria Elena, met with John and Bill and gave her approval for The Picks to overdub more of Buddy’s songs with their vocal backing. The Picks set to work making those recordings and completed many. But, before Bill could enjoy their release, he suffered a second aneurysm. Bill’s final request to John was: “promise me you’ll put this stuff out.” True to his brother, for all of his life, John took every penny he and Vicky had saved, and released “Buddy Holly and the Picks” LP in 1986. The Picks gained recognition, from Europe to Japan. Today, over 200 different compilation CD releases include songs featuring Buddy Holly and The Picks on the label credits. John and Vicky travel to record and music conventions around the country, greeting new fans.

In October, 1983, Norman Petty personally autographed two box sets of Buddy Holly music released in the UK, with appreciation to John, and to Bill. In his own handwriting, Petty noted, “You have been and always will be part of our musical family and history.” Petty, then in the final stages of battling leukemia, set the record straight before dying in 1984. Bill Pickering died in 1985.

Terry Lickona was taping an Austin City Limits tribute to Buddy Holly and The Crickets in 1987, for the 30th anniversary. John and Vicky attended and met Kris Kristofferson, the program’s MC. John showed Kris the 1987 re-issue of “The Chirping Crickets” LP. Pickering recalls, “our names were on the label and Kris said, ‘I just saw that...(re-issue) in Nashville. I learned to sing harmony from you guys.’” Kristofferson then grabbed the LP and wrote across the label, “thanks for showing me the way.” The victory would be short-lived, however.

Before the taping, John and Vicky were invited to sit in a designated section of the auditorium, because “Kris wanted to introduce John that night.” After Kristofferson introduced Larry Holley and his daughter, Sherry, brother Travis, Maria Elena, and Vi Petty, he introduced John, saying, “John and The Picks do all those harmonies we’ve been hearing behind Buddy Holly. He showed us how to do it. Stand up, John Pickering!” Vicky recalled, “the program was to air on John’s birthday.” She’d sent press releases to 50 media outlets. In the TV broadcast, Kristofferson’s introduction of John “had been edited out.” Another wall, after 30 years.

John’s pursuit to set the record straight has never meant to bring discomfort or harm to any of the instrumental Crickets or the Holley family. In fact, it’s mainly been to give his late brother, Bill, the credit he really never received in his lifetime, a disappointment that literally broke Bill’s heart and spirit for many decades. Understandable, as every musician infuses a portion of their souls into each product they give to the world.

In Clear Lake, Iowa, 2009 marked the 50th anniversary of the day the music died. With DJ Bob Hale presiding over the momentous event, John and Vicky Pickering were there for the first time. The Pickerings drove alone to pay their respects to Buddy, planning to leave framed lyrics at the crash site.  A videographer for a Minnesota paper spotted the Pickerings, and another young man who said he’d driven from London, Ontario, joined them. In the freezing cold, John sang two tributes to Buddy. The young Canadian exclaimed, “I’ve been listening all the way down here to the Buddy Holly and The Picks CD that my wife bought me!” “You’re on that CD!” Fifty-two years later, the truth had found its way into the light.

Thanks to Texas Sen. Robert Duncan, R-Lubbock, 2009 Texas State Senate Resolution 55 reads: “The Senate of the State of Texas is pleased to recognize the musical group The Picks. The Picks have made important contributions to the rich cultural heritage of our state, and they are truly deserving of recognition.” In November, 2007, The Picks (John, Bill, and Bob) were inducted into the New Mexico Music Hall of Fame. They still haven’t been included in the Lubbock Buddy Holly Center Timeline: 1957, yet.

Note: John Winton Pickering passed away February 28, 2011. His music, and that of The Picks, continues to live on, properly credited, as Buddy Holly and the Picks on new records and classic rock reissues.